BARGAIN THEATRE

THE GREAT GATSBY MUSICAL

One of several adaptations produced this year of F. Scott Fitzgerald’s classic novel about 1920s opulent decadence is unfortunately anything but. The Great Gatsby Musical, not to be confused with the likes of Gatz that was playing in the West End until recently, feels unfinished. Written and directed by Linnie Reedman, The Great Gatsby Musical felt more like watching a workshop of a show than a fully formed piece.

In such a small space with hardly any set to speak of, bar a piano and some moveable chairs, the whole thing came off as under-rehearsed. The musical numbers, composed by Joe Evans, were largely forgettable and all the ensemble efforts, except the tango-inspired ‘I Bet He Killed A Man’, had eggy lead-ins and (when present) shoddy harmonies. The most frustrating problem with the songs was that they neither informed us of anything we didn’t already know about the characters within the scene, or did anything to further the story. They were numbers which could be removed from the piece without affecting the continuation, which surely defeats the object of creating a musical in the first place? I want to hear the innermost thoughts of the character which cannot be expressed through just words, not a little jazz-infused ditty that could be a stand alone tune outside the confines of the show. It is also a show which illustrates that the recent craze of using actor-musicians is not always a good idea.

That being said, there were some performances that deserve some plaudits. Raphael Verrion stood out as the best in show, despite Nick’s role as the ‘narrator’ of sorts and not the ‘star’. He may not have had the strongest voice, in the one solo allowed him, but his acting was subtle, consistent and his character was the only one who truly felt believable. If he had been but a little broader and muscular he would have been a fantastically charismatic Gatsby.

Matilda Sturridge’s Daisy Buchanan, permanently open mouthed and whispy of voice, is a nice take on the character. She feels too young and wholesome to be playing the role, but she does it with conviction. Her voice is of the same ilk as Florence of ‘The Machine’ fame which is very listenable but not very period appropriate. She does whole-heartedly act her socks off whilst in song however.

Often it is a player in a smaller, less-pressured role who steals the limelight. That’s the case here with Alyssa Noble shining in her comedic role of Lucille. She may not be the strongest of singers, but it is almost unnecessary when the rest of her performance makes her so watchable throughout.

If the rumours that The Great Gatsby Musical has big ‘in town’ aspirations than there is a huge amount of work to be done by all involved. The only way I can see a transfer happening is with a new score, a new book, a new set, new choreography and a largely new cast. The ‘Rather-Disappointing’ Gatsby then, if you will.

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REVIEWED: 10/08/12
By Tom Norman @Tom_Norm

7th Aug - 1st Sep 2012
King’s Head Theatre, London, N1.

SOHO CINDERS

Despite the title, this is not a panto.  Ugly sisters yes, and there is a ball; but those hoping for a dame and ’Oh yes he is’ might want to reconsider.  Award-winning composer and lyricist team George Stiles and Anthony Drewe provide a host of great songs that fuse together seamlessly in an original score that is one of the best newly-written musicals I’ve heard in a long while.  Choreographer Drew McOnie brings life to each number with routines that are slickly delivered, while Director Jonathan Butterell gives dimension to Elliot Davis’ book (co-written with Drewe).  

Set in Soho’s famous gay village on Old Compton Street, it’s the story of rent-boy Robbie’s struggle to keep a roof over his head and a lid on his potentially explosive love-life.  Would-be mayor James Prince (Michael Xavier) has a secret which could ruin his prospects, Robbie is head-over-heels in love, while Lord Bellingham (Neil McCaul) is just a dirty old peer who thinks he can buy anything and anyone.  The ugly sisters, played by Suzy Chard and Beverley Rudd, are the epitome of The Fat Slags from adult comic Viz, feasting on men and booze; but they have their eye on Bendix-bender Robbie’s beautiful laundrette business, hoping to turn it into a strip joint. 

 Stand-out songs include the joyous ‘Wishing For The Normal’ sung by Tom Milner as the dashing and fresh Robbie, with his soulmate Velcro played by the talented Amy Lennox who later also delights in the duet ‘Let Him Go’.  Milner needs no fairy godmother to help with his excellently delivered and passionate solo ’They Don’t Make Glass Slippers’.  An excellent ensemble ensure that all the company numbers hit the mark, particularly ‘You Shall Go To The Ball’ leading the audience upbeat into the interval, played out by Musical Director Stephen Ridley, sat aloft on keys with a five piece band.  
 
The second act proves to be surprisingly emotional as lives unravel and real issues are tackled.  Jenna Russell shines here as the fiance of James Prince, coming to terms with the consequences of infidelity.  Lighting Designer Hugh Vanstone has done a fine job with just the right hues and tones to emphasise key moments of the twisting story.  

The drawback of this production, if there is one, is the price of seats.  At £37.50 for stalls seats and £27.50 for the side-view stools, this is among the most expensive fringe theatre musicals I’ve encountered.  Standing places are available at £12.50 and previews were just £2.50 less.  I’m reliably informed that performances have been sold out thus far.  The question is: Are production levels sufficiently high to justify paying such amounts?  Time will tell.  Certainly the show makes for enjoyable viewing, is very strong musically and the design, while essentially static, is top end for off-West End.  The modern venue is such that it is virtually impossible to get a ‘bad’ seat and, of course, it is centrally situated.  This premiere run may well be the season’s ‘must see’ of the London fringe circuit, not least because the cast lists Stephen Fry, who provides the recorded voice for the part of Narrator.  However, in a summer when many Theatreland shows have had to discount heavily to attract audiences, there is a lot of competition for your forty-odd pounds, so spend wisely.


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REVIEWED: 08/08/12
By Gareth Richardson @BargainTheatre
 
3rd August - 9th September 2012
Soho Theatre, London, W1.

PREVIEW: PIRATES OF PENZANCE

When William Gilbert and Arthur Sullivan penned the Pirates of Penzance I doubt they envisioned such a production as Sasha Regan’s all-male escapade.

Pirates of Penzance, or The Slave of Duty, premiered in 1979 on consecutive days in Paignton, England and then New York to discourage those who managed to evade copyright by performing “pirate” versions of G&S’ previous operetta HMS Pinafore. The production opened in London the following year and ran for 360 performances.

Sasha Regan’s All-Male G&S shows have achieved cult status and considering there have only so few that’s pretty high praise indeed. Pirates opened in 2009 at The Union Theatre before transferring to Wilton’s Music Hall for a sold out 6 week run and then a fortnight at Kingston’s Rose Theatre. It was at the Rose that the Pirates were spotted by overseas investors and plans were put in motion ready to raise the main sail and set off on their voyage to the other side of the world two years later.


Sasha Regan takes the helm once more as Director and also Co-Producer, alongside Ben De Wynter (Regan De Wynter), of the down under production steering the tour of Oz. Sasha’s directing credits include such infamous shows as Sweeney Todd and Cabaret, and of course more recent all-male jaunts Patience and Iolanthe, the latter of which broke the 12 year box office record at Wilton’s Music Hall in 2011.

Original Choreographer Lizzi Gee is back onboard with a plethora of West End, Fringe and International credits under her belt including Buddy, Million Dollar Quartet, Hair and The Sound of Music.

Taking his maiden voyage with this particular production is Musical Supervisor Michael England. Having recently supervised Patience at the Union Theatre, England is no stranger to the fierce falsetto of an all-male cast. Michael England’s credits abound having musically directed West End productions of Les Miserables, Phantom of Opera and Jerry Springer to name but a few. England also conducted the opening weeks of Cameron Mackintosh’s 25th Anniversary Tour of Les Miserables and the new cast recording.

Familiar faces Steve Miller (Design) and Robyn Wilson-Owen (Lighting Design) are also back on deck for the revival of this award winning production.

Six of the original shipmates will also join the international cast with Alan Richardson reprising the role of Mabel, for which he received People’s Award for Best Actor in the Off West End Awards 2011. Michael Burgen returns as the Pirate King’s right hand man Samuel, Lee Greenaway and Stewart Charlesworth will be donning their frocks as Connie and Edith, and Raymond Tait and Adam Lewis Ford are back as cover Sergeant of Police and Sisters, respectively.

The production will be touring Australia throughout October and November culminating in a three week run at The Sydney Theatre. Before they raise the anchor and set sail you’ll be able to see the Pirates in full swing, and no doubt acrobatic action, at the Hackney Empire from 26th - 30th September 2012.


For more information and booking details visit www.piratesisback.com.
Follow the swashbucklers on Twitter @PiratesOnTour

PIRATES OF PENZANCE
Top price seats £15 (was £27.50)
26th-30th Sept
http://www.hackneyempire.co.uk/
Book by 31st Aug. Use code EARLY BIRD PIRATES

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Preview by @BenVivianJones

CURTAINS

VIEUX CARRE

THE WEST END MEN

When I was given the opportunity to review The West End Men at the G Live venue in Guildford, I jumped at the chance. Not because I was a particular fan of the performers involved, but since the likes of Lee Mead and Kerry Ellis attract such a cult following, I wanted to see what all the fuss was about. 

MR KOLPERT

It’s hard to discover what Mr. Kolpert  is all about without a deep delve.  The King’s Head Theatre website is vague and general, with a hint of storyline though void of detail.  The press release likewise and the programme totally barren.  Therefore expect the unexpected must be the caveat and go with an open mind.  A large and locked trunk, placed off-centre, forms the basis of what turns out to be a black comedy translated from German.  Two couples at a dinner party, except there is no party to speak of and definitely no dinner prepared.  Cue a bewildered pizza delivery boy and much talk of a dead body.  Include lots of swearing and more than a little nudity for absolutely no reason whatever.  Throw in a game of Botticelli and you have all the ingredients.
 
This play could be funny, except director Rachel Valentine Smith has made all the characters over-act, presumably to provide emphasis in a quest for laughs.  Regrettably this strategy proves counter-productive and instead quickly becomes tedious.  It’s hard to believe in any of these folks although occasionally that matters not in comedy.  Indeed sometimes that is the very element that makes it work; John Cleese found perfection in Faulty Towers afterall, but here it falls a long way short.  Damian Lynch as the temperance architect Bastian Mole who borders on schizophrenic, for instance, certainly lays on the violence and bad temperament well but chiefly in a shocking manner rather than humorously.  Likewise, Ralf Droht (Edward Fulton), although more engagingly amusing, still somehow misses the mark.  Both try hard, but appear hindered by heavy-handed direction.  They are not helped either by a cumbersome script which relies on recycling the same few gags.  You can only laugh so many times at a misunderstood telephone conversation about a take-away pizza order for example, otherwise the joke wears a bit thin, however much it is reinvented.  Or does it?  Perhaps I’m wrong about the script, for Mr Kolpert was afterall, well received Upstairs at the Royal Court in 2000 with Richard Wilson at the helm.  
 
Violence and murder feature heavily as might be expected, but never with a wholesome sense of subtle macabre to turn this production truly black .  The resulting combination of much projectile vomiting, thrown food and copious stage blood is pretty gruesome however, but makes for a very slippery stage during the second half, causing the cast a few slips but thankfully never a fall.  My advice is not to sit in the front row with good clothes or nice shoes on and don’t even think about asking what’s in the trunk!

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REVIEWED 16/07/12
By Gareth Richardson @BargainTheatre

15th July - 5th August 2012
King’s Head Theatre, London, N1.

GATZ

Open for 23 performances and with rave reviews gushing over its sophistication, Gatz is the latest ‘must-book’ for the flush London theatre-goer.  It is not a conventional play, being an 8-hour word for word reading of the Great Gatsby, set on the stage of the Noel Coward theatre, and performed by 13 actors from the ERS theatre group of New York. Yes, 8 hours; 3 intervals.

‘But you’ve studied American Literature, you must know this?’ - so said my mother as we sat down. I explained that ‘study’ was pushing it for a term of English Literature A Level in which I read the set texts I was told to, and that F. Scott Fitzgerald’s classic had not come up. So I didn’t sit down to Gatz aware of the writing or the story, unlike the majority of people in that night. If you find yourself in my position, I’m afraid I can’t recommend it.

Hours pass slowly as the narrative crawls by. The pleasure of a book is that you can put it down, and the pleasure of theatre is watching people acting. Here you have a man reading a story out and fairly soon a random set of fellow office workers playing roles for people they are nothing like. To begin with the characters pop in out of the recital, but by act three they are standing about waiting for the adjectives for their behaviour to be read out. So you can’t put the book down or watch anyone acting. Not a happy medium; unless you think of mass as entertainment.

Newspaper reviewers have glowingly commented that Gatz showcases F. Scott Fitzgerald’s prose, but for me it’s more a weakness than a strength. Where the stale narration (‘he said’, ‘she said’) would so obviously be cut in a conventional adaptation, here it is not; conversely there are moments when the actors are being highly distracting on stage, causing irritation that you cannot focus. With the huge visual limitations of the dull office and the unadapted costumes, it’s hard to conjure the scenes in the story without listening accurately to the narration.

Traditonally you’d name drop some actors at this point, but I’m afraid there’s little to say. The narrator deserves praise for reading out the novel without much of a break; although his intonation and tone make concentrating tedious. The rest, well; with no acting in a conventional sense I found none made much impression. I also didn’t understand why such underwhelming acting was chosen for the role of Gatsby, for whom presumably we are supposed to care for.

Seats remained filled more than I expected as the hours passed. I suppose at £75 a throw it’s a bitter pill to swallow to conclude your time could be better spent. I must be honest in saying that after the end of act three and over six hours in, I could take no more. I was now watching people shuffle around the stage but focusing on the behaviour of the breathy man and fat sweet-sucking woman behind me, listening to the story had become a stress-inducing chore and that isn’t what either reading or going to the theatre should be about.

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REVIEWED 15/07/12
By Piero McCarthy

8th June - 15th July 2012
Noel Coward Theatre, London, WC2.

MACK AND MABEL

Is it something they put in the water in Southwark and Lambeth?  These two inner London boroughs certainly punch far greater than their weight when it comes to musical theatre at fringe venues.  A succession of quality and in some cases, award-winning productions, have formed from seeds that germinate here and the latest to join the pedigree is Mack And Mabel at Southwark Playhouse, produced by Danielle Torento.  Director Thom Southerland and choreographer Lee Proud give a feast for the eyes with a hard-working and eager cast keen to deliver.  

Norman Bowman impresses immensely.  His role as movie-maker Mack Sennett is totally believable, I bought into him from the first second and that remained with me until the last.  His strong voice, presence and posture fills the cavernous auditorium and although perhaps the story has no happy ending, he ensures the audience leave with a smile on their faces.  Laura Pitt-Pulford is the cherry on top of the sundae as Mabel Normand, the sandwich delivery girl who makes it big in silent movies after Mack spots that something special in her.  Although affinity with her character takes a short while to mature, by the time Pitt-Pulford gets to her big solo ‘Wherever He Ain’t’, she has the room hanging off every word she sings.  Aptly seeming to come from nowhere, taking everyone by surprise, just like Mabel does herself. 

Jerry Herman’s score is one of his strongest and must be a pleasure for Michael Bradley to work with as Musical Director.  A large, unseen band add to the ‘big production’ atmosphere.  There are many ensemble numbers, freshly delivered by a company that is clearly enjoying every minute, building to a crescendo with the marvellous dance number ‘Tap Your Troubles Away’ gloriously costumed in the favoured art deco gold and black of the 1920s and delightfully choreographed by Proud.  Not an easy task on the uneven and dusty concrete floor, which presents problems even with judicious use of tap boards, but nonetheless the end result is worthy of all the effort. 

This is a busy production on many levels, with a perfectly cluttered design to represent the randomness of a US movie studio.  The decision to use a wheeled step tower is inspired and adds not only height but gravity at key moments in this well-executed drama of love, fame and (lack of) fortune.  Then, of course, there are the Keysone Cops for which this musical is possibly best known.  The build up to their second act arrival is maybe the only point in the show which isn’t quite working as well as it might.  A flurry of slapstick activity immediately before the police enter doesn’t really reach the degree of amusement it could; but just as that becomes apparent in come the cops and suddenly hilarity takes over with the glorious ‘Hit ‘Em On the Head’ routine, with masterful comic timing.  Every element looks so easily delivered but you can be sure it’s taken hours to perfect. 

The combination of great music and lyrics, charming direction and crisp choreography make it a must-see for any musical theatre fan this summer.

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REVIEWED 11/07/2012
by Gareth Richardson @BargainTheatre

5th July - 25th August
Southwark Playhouse, London, SE1.

THE HURLY BURLY SHOW

“Are there any burlesque virgins in the house?”

The first question we are asked by our beautiful compere, Miss Coco Dubois, superbly played with charm and sass by Joanna Woodward.

I am ashamed to say that I, indeed, was a burlesque virgin and the reason is plain. I have always believed it would simply not be for me.  As a strong minded woman I have always secretly thought that it was just a (slightly) classier version of stripping with dirty old men looking on therefore I would feel uncomfortable and quite frankly hate it from start to finish.

I am happy to report, I was completely and utterly wrong.

Burlesque, or certainly burlesque to this high standard, is an art form.  Performed by some of the most beautiful women I have ever seen, their bodies are their temples, and watching them move and dance in beautifully crafted costumes is nothing short of breathtaking.  There are some rather raunchy moments, however what The Hurly Burly Show manages to do with ease is mix these seamlessly into lighter, comedic encounters, which really makes the production shine as it instantly gives the girls a likeability factor…which with those bodies is no mean feat!  The production values are stunning, absolutely exquisite costumes and set make the piece come to life and invite you in.  By the end of the show, no one wanted to leave, it felt like we’d only been there 10 minutes when in reality we’d been there two hours.

What I genuinely loved most is even though for the vast majority of it the girls are wearing next to nothing, think sequined nipple tassels and crystal G-strings, you forget that they are pretty much naked, as you are stunned by the feminine athleticism of their bodies.  These women are truly magnificent, watching such skilled dancers move whilst seeing their bodies genuinely create the movement is what makes it an art form, rather than a strip show.  This is where the show’s strength lies for it’s a show for everyone, most of all women to celebrate the beauty of the female form, and let’s be honest, a woman’s body is a beautiful creation. One particular Hurly Burly girl Rachel Muldoon, who is given the accolade of ‘head’ girl, is absolutely fabulous and whenever she is on stage it is very difficult to tear your eyes from her.  She has what many performers lack, and that is, old-fashioned star quality.

Another highlight for me is a contemporary dance sequence between two girls, which stood out as beautiful choreography from additional choreographer Adam Murray.

Leading lady and creator of the show, Miss Polly Rae, has done herself proud and obviously worked very hard in creating this show and quite rightfully giving her the forum to become the British Dita Von Teese.  This show has achieved so much, earning its West End status, and I genuinely think it should be given a longer run.

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REVIEWED: 10/07/12
By Sally Bowles

2nd July - 22nd Sept 2012
Duchess Theatre, London, W1.

SFATS LIVE!

The illusive @westendproducer’s Search For A Twitter Star reached its climax at the Lyric Theatre. Not one but two potential stars have been selected from an original entry pool of over 650 hopefuls.  Ten finalists battled for the title in a full-on West End live final, delivering one song each before an audience electronic vote decided the winners.  Judging panel Louise Dearman, Mike Dixon, Gemma Lowy Hamilton and David King gave a fair amount of praise and a lot of criticism after each contestant had sung.  This was really ‘rabbit in the headlights’ stuff, stood alone on the large stage, listening as their entry was picked apart, while an audience of fans, industry professionals and the plain curious looked and listened uncomfortably.  Reading journalistic criticism of a production in the privacy of your own home is one thing and can be pretty unpleasant if the review goes against you, standing there on stage in full public view as your solo performance is publicly dissected is quite something else.  This is lonesome territory and definitely not for the feint hearted.

While some of the hopefuls have received professional theatre school education via traditional routes, others are just embarking on that path and for several, this was their first time ever on a West End stage.  Without exception, the achievement of getting through to the final ten is one to be proud of but for those yet to be formally trained, it’s quite remarkable.  Particularly given that they won’t have made those all-so-important industry contacts which come by working ‘in’ the profession, which must surely have made mustering sufficient support to get through the initial public voting stages online, a very difficult task.  Quite extraordinary then, that eighteen year old contestant Felipe Bejarano (@FelipeBejarano_) with no such qualification and making his debut on a professional stage, should win the male title.   For him, this truly is the stuff that dreams are made of and a great start to one’s career.  His crowd-pleasing performance of Jason Robert Brown’s ‘Someone To Fall Back On’ demonstrated great dynamic range and stage charisma, together with a natural warmth.

Kara Bayer (@karabayer) works in theatre, but having studied textiles and costume design she too has no traditional performing background and is currently a wardrobe assistant with Garsington Opera Company.  Nonetheless, her gutsy and convincing performance of ‘Taylor The Latte Boy’ earned her a nail-biting place in the final four, along with judges’ favourite Alexandra Da Silva (@alexdasilva27) and Benjamin Vivian-Jones (@BenVivianJones) who had also enchanted the audience enough to make it to the very last hurdle with ‘The Man That Got Away’ from A Star Is Born and ‘Stranger In This World’ from Taboo, respectively.  Kara took the female crown after a tense sing-off.

Guest appearances from Louise Dearman, Associated Studios and Patch of Blue Theatre Company provided light relief as the voting rounds took place.  
With the winners announced by presenter Aled Jones, Jon Lee and Kerry Ellis gave duets with each; no doubt a stunning experience for both Felipe and Kara who stepped up to the mark admirably.

And then, some six months or so after it all began, Search For A Twitter Star was complete.  Are we any the wiser to the identity of @Westendproducer?  Well, a rather distinguished-looking male could be seen sat somewhat aloof in a box throughout the evening, complete with laptop, teddy bear and a huge bottle of Dom.  He was never introduced to the audience, though he did take a bow.  Could that really have been him?  The mystery, it seems, is not totally over yet!  

Contestants (in order of appearance)
 
Jason Broderick @Jason_Broderick
Bindy Baker @BeeBopBind
Elliot Clay @elliotclay
Alexandra Da Silva @alexdasilva27
Mikey Wooster @MikeWooster
Kara Bayer @karabayer
Felipe Bejerano @FelipeBejarano_
Sarah Gies @Sarah_Gies
Benjamin Vivian Jones @BenVivianJones
Emily Barker @Emsbarker


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REVIEWED: 09/07/12
By Gareth Richardson @BargainTheatre

9th July 2012
Lyric Theatre, London W1.

THE ORESTEIA TRILOGY OF AESCHYLUS

The last time I gave the Trojan War any thought was sat in a year 9 history lesson, so I knew that attending an open air production of The Oresteia Trilogy of Aeschylus would be an educational experience, if nothing else. 

PREVIEW: SEARCH FOR A TWITTER STAR

Who is @WestEndProducer?!

This is the question that has been circling the Twittersphere since last November, when a mysterious user started commenting about the theatrical world on the social networking site.  The anonymous tweeter has enjoyed dropping hints that he is no other than Sir Cameron Mackintosh, but according to sources Sir Cameron is not much for technology…or is this yet another ruse?  Although WEP has not been unmasked, and reportedly won’t be for a long time, Twitter’s very own Phantom has amassed over 18,000 followers in his 8 month reign.

WEP announced the online competition months ago and it has seen hundreds of entries, over 12 hours of footage submitted for the West End talent contest via YouTube.  20 men and 20 women were chosen as quarter finalists who were then voted for on Twitter to reach the semi finals 10/10.  The judges revelled in choosing a Wild Card resulting in 11 men and 11 women in the semi finals who then submitted specifically recorded songs to become 1 of 10 finalists, 5 male and 5 female. All voted for via Twitter.

The 10 finalists will now compete head to head in a live concert at the West End’s Lyric Theatre, currently home to Thriller, with singer, actor and Radio 2 presenter Aled Jones as the evening’s host.  Aled has starred in shows such as Joseph and the Technicolour Dreamcoat and Chitty Chitty Bang Bang, he will also join Lorraine Kelly as co-host on ITV’s soon to be relaunched Daybreak.

The competition will be judged Louise Dearman, who will provide the finalists with a demonstration on solo singing, and other respected industry professionals: West End and TV Musical Director Mike Dixon, West End Agent Gemma Lowy-Hamilton and International Theatre Producer and Secret Millionaire David King.

A potential leading man and lady will be chosen by the audience and judges from the evening’s performances, who will then get to duet with West End stars Kerry Ellis and Jon Lee.

The #searchforatwitterstar LIVE finalists have attracted considerable support from the West End community with the generous donation of prizes and good luck video messages being posted daily by leading West End performers and show casts (see separate post for video).

“This is a very serious talent search - to find genuine and new theatre talent,” said @westendproducer. “It will also be a marvellous evening, and a world-first; an entire tweeting show. I’ll drink to that! #dear”

It is produced for @westendproducer by Tony Green, who is reuniting the creative team behind the recently sold-out Children of Eden gala concert - Director Drew Baker, Musical Supervisor James Draisey and Production Designer Ben M Rogers.

West End Producer will also be making an appearance, with tweets projected live throughout the show, sipping Dom accompanied by his Valjean teddy no doubt.

For tickets and more information visit: www.searchforatwitterstarlive.co.uk

 

FLORA THE RED MENACE

Flora the Red Menace was Kander and Ebb’s first collaboration to be produced, and throughout a neat production of this lesser known musical, you can’t escape the feeling that they are on their way to writing Cabaret but haven’t quite got there yet.

This musical tells the story of Flora - a young, headstrong, out of work fashion illustrator – during the Great Depression of the 1930’s, and her search for work, love and justice.  At a time when unions, workers’ rights and poverty are on the rise, Flora (Katy Baker) is drawn haplessly into the communist party by her stammering love interest Harry (Steven Sparling) leading to conflicted feelings about her new relationship, her newly-landed job at a New York department store, and the needs of her artisan friends with whom she shares studio space in an old hotel ballroom.

The show fits neatly into the small space of the Landor, and Randy Smartick has created a suitably intimate and light-hearted production with musical direction and arrangements for the piano/bass band by Aaron Clingham.  The set serves its purpose effectively in the way that a fringe musical set has to do, although the devil is in the detail – some graduation gowns in dire need of an iron, an opening number full of mortar board hats wobbling to the point of collapse, and an office desk with a visible layer of dust could do with being fixed up to add a layer of gloss to the visual elements, but overall a lot is achieved by this show with very little.

Without a question of a doubt however, there is one element of this production that is utterly superlative, and her name is Katy Baker.  In the title role of Flora, she carries the audience with a firm and reassuring hold through the show giving a performance of extraordinary depth and charm.  Somehow invoking the spirits of Judy Garland and Lucille Ball at the same time, her characterisation of Flora brings her naivety, wilfulness and confliction to life with great clarity and Baker’s emotional, husky, 1930’s Broadway belt of a voice steamrollers through Liza Minelli’s original version.  It is worth noting that this is Baker’s first musical since graduating Central School of Speech and Drama (although she has sung with a band since then) and it is hard to think of anyone recently having looked more comfortable on the musical stage.

With strong ensemble singing throughout and some nice moments choreographically between Greg Sheffield as Kenny and Kimberley Moses as Maggie in their act two tap-dance duet, the show is largely enjoyable and fun to watch and is well suited to be scaled back for a fringe production like this.  A few cuts wouldn’t go amiss, but any dragging of the heels seems to be largely the fault of the material itself rather than the  production, and the subject matter of the masses struggling to survive the financial crash has definite resonances for contemporary audiences.  Catch it at the welcoming Landor Theatre until July 14^th.

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REVIEWED: 29/06/12
By Jamie Read @VoiceTeacherUK

26th June - 14th July 2012
Landor Theatre, London, SW9.